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On the 1962 animated version of Beany and Cecil, Clampett decided to parody the popular “Disneyland” television program in an episode entitled Beanyland.

Over the decades there have been four distinct animated television series trying to translate these characters and their stories to animation.

This isn’t the only set of ads that this show has done, such as the Super Bowl commercial for Pringles where Morty was a robot forced to get the others to promote Pringles and Rick realized that their entire home was basically an ad for Pringles. Clearly this show doesn’t mind doing that kind of thing if they can make it funny enough.

“It so happened that Walt’s own grandnephews were such great fans of my Beany and Cecil TV show that they ran around all day wearing Beany caps, playing with Beany balloons and games, with Cecil and Dishonest John puppets on their arms, giving the D.J. laugh, ‘Nya ha ha!’

Each case is different, of course, but usually is traced back to the initial contractual clearance for commercial recordings. It can also be an artistic choice. Henry Mancini, who we discussed in the previous Spin about The Pink Panther, famously eschewed soundtrack albums for the RCA Victor albums of his movie scores. Instead, he arranged specific, individual tracks (each with its own beginning, middle and end as opposed to film tracks that might need to stop and start to follow visual action) with the home and radio listener in mind. Rich in themes and catchy hooks, his background music could then exist as a light jazz/easy listening album as well as soundtrack. It was only around the turn of this century that Mancini transitioned to the soundtrack format with the advent of compact discs, followed by labels such as La-La Land releasing expanded box sets of his scores with both the album and film versions.

Jerry wanted me to share some other things we just got scanned this week, but I will next week instead. This will give me a little time to combine some sections and maybe get a lot more in-depth about the technical details of combining color elements.

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Arnold provides Amanda with a break for lunch. However, as in the Thembrian prison camp, this merely meas a break – no food. Amanda becomes crazed, and starts devouring any object she can get her hands on in the room. Then she spots Freddy, who is taunting her with a small dining table of his own, and a hot roast chicken. Amanda tries to grab the chicken away, but Freddy flies inside its neck, to “pilot” the bird away as if running under its own power. Amanda engages in a furious chase, which takes her and Freddy onto a track and field course. As with Deputy Dawg, all the running around has an effect, and as Amanda seems about to capture both Freddy and the chicken, Freddy’s eyes pop, and he lets out with a wolf whistle. Amanda has slimmed down, and actually developed a shapely figure! The scene changes to Amanda’s mansion, where Freddy is now treated to all the food he desires, as Amanda states “I still hate you, fly, but I’ll never forget what you’ve done for me.” The new issue of “Vague” magazine (a play on “Vogue”) is brought in by a butler. Amanda’s eyes pop in horror at the cover story – “Fat is Back”, proclaims the title, with the slim figure now out of fashion. Turning on Freddy, Amanda changes her line to “I’ll never forget what you’ve done to me – EVER”, as she brings dowm the rolled-up magazine upon the roly-poly fly, for a blackout ending. Pillow Case